While laureate Russell Foster studies the science behind the effect of light on human behaviour and physical and mental wellbeing, laureates Juha Leiviskä and Henry Plummer approach the effects and implications of daylight intuitively through architectural design, photographic expression and verbal mediation of these human responses,’ said the jury. It can be questioned whether an investigation into the meaning of light in medieval Gothic architecture is anything more than an academic indulgence. This cynicism of symbols is after all what seems to characterise our outlook on them today. The medieval world however, especially in its theological exposition thought of the universe as a symbol (Emile Male 1972). This symbolism was deeply infused within the Christian theology of the time, to the extent that an artist would have to first be schooled in the theological significances of particular symbols which were to be adhered to absolutely. An example would be a nimbus behind the head impressed with a cross being a sign of divinity, which is always observed in the depiction of any of the three Persons of the Trinity (Ibid). This saturation of meaning in particular artistic characterizations was a fertile field for the growth of the Neo-Platonist sentiment which was to re-emerge in the form of theology.It was in such a nexus of symbolism that light acquired a rarefied meaning. In the 12th century a text attributed to Dionysius gained great influence among the clergy. This text was ‘The Celestial Hierarchy and Ecclesiastical Hierarchy of Dionysus the Areopagite. The core of this treatise was one idea, that God is light. (George Duby 1976). This treatise affirmed that- With my 5x4 camera I was unable to take exceptionally wide photographs, the widest I could manage was approximately 60mm (equivalent to about 16mm on full frame 35mm cameras). The light fall-off on these photographs should be about two stops, which looks about right based on the results I got. The Results National Science and Media Museum volunteer Peter Harvey writes about how Poetics of Light proves the simplest cameras can produce some of the most atmospheric images. doing each step for ALL jobs before starting the next step is much more efficient than doing one complete relic at a time.

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At first glance, an Oxford neuroscientist might appear not to have much relevance to the world of design, but in fact his research is of crucial importance to how we shape and light our environments in the future. I wrote the Foreword [ read it online here] for Roger Ebert’s The Great Movies III, from the University of Chicago Press. It’s a fine collection, with essays on several of my favorites: The Best Years of OurLives, Chimes at Midnight, Godfather II, The Long Goodbye, Ordet, Playtime, Sansho Kahn was recognized in his lifetime as among the most significant American architects of the Modernist period, and his reputation persists at a time when the work of some other Modernist designers is suffering neglect, alteration, or demolition. With roots in the ancient discovery of the camera obscura, pinhole photography has enchanted artists and scientists from the 1880s through to today. In this exhibition, more than 200 photographs and 40 cameras show how a box pierced by a hole and holding a piece of film can reveal alternate versions of reality, and a visual form of poetry.” After understand the two example person in translating poetic in architecture or in their own art works, both of them are combining all the elements in architecture, like material, form, volume, light, colour, and music, to create an easy understanding way in space with a very deep thought to let we as the user to be easily understand what they actually wanted to express in our measurement level of thinking. And slowly we realize that it provoke our emotion when we walk through the space that we found greater joy in experienced the space.The 84-year-old Juha Leiviskä is one of the most significant contemporary architects in Finland. Daylight is an integral element of his buildings, used in an exceptional way to define interiors and evoke atmosphere. What surprised me most was just how sharp some of the results were. If you are one of those people who characterise pinholes as generally blurry or having an out of focus look, think again. In this particular photograph of Achnambeithach at the bottom of the three sisters, the detail in the house is quite incredible considering there is no lens involved. Simply adapted the spreadsheet I use for my own grind, might have some mistakes here and there... Might update/correct/complete it over time, but let's be honest - probably won't. Make your own copy and do your worst.

Art Expansion and Renovation / DesignGroup Columbus Museum of Art Expansion and Renovation / DesignGroup

The more we are inundated with light, the less we know of it. Bachelard describes the transition from candlelight to lamplight to electric light as a recession in our connection with this active element; the former provides a more intimate, delicate flame, while the latter two cast a more powerful and consistent light. For Bachelard, this transformation in our consumption of light marks a distinctive shift in how the human imagination—bathed in this light—moves:First of all, prepare all the hand-in thingies for the Step 7 repeatables for all jobs, because you're gonna do the repeatables and store their token rewards WHILE farming books. This will require a lot of Poetics / GC Seals / Gil... So, multiply the list in THE REFERENCE by as many relics as you still need.

Light + Tech: Daylight Awards - DesignCurial Light + Tech: Daylight Awards - DesignCurial

Guangxi Normal University Press has published a Chinese translation of Poetics of Cinema. Thanks to the translator Zhang Jin, the editor Zhou Bin, and the proofreader, with whom I've had much pleasant correspondence, Luo Jin. Mr. Zhou is also involved with publishing Chinese versions of Film History: An Introduction (Peking University Press) and The Classical Hollywood Cinema (CITIC Publishing). [23.Oct.13] Ornamentation and wealth were also essential in this poetics of light. Abbot Suger in the 12th century declared that ‘everything that is most precious should be used above all to celebrate that holy mass’ (Ibid). The wealth of the church had clearly grown as seen in its access to such materials, and Suger was merely following his monastic predecessors in his utilization of gems as embellishment. Another Wright image comes from her Civil War Redux series; she followed re-enactments of the American Civil War over 13 years. This image, 2nd Manassas: Women & Parasols (above), mirrors vintage photographs in using sepia tones, but the composition also reminds me of Impressionist painters’ views of families enjoying the Normandy beaches. In this instance, though, the women are at the edge of the battlefield, so it is a sombre subject. In discussing the intimate, mutual, and creative relationship between Keats and Haydon, this thesis draws on those modalities of ‘light and shade’ that are emphasized in the poet’s writings, including his letters. As both an artist and an art critic and polemicist, Haydon was a great exponent, in both practical and theoretical terms, of chiaroscuro effects. His exemplary work in this respect is Christ’s Triumphant Entry into Jerusalem (begun in 1814 and finished in 1820). Haydon’s manipulation of clarity and obscurity in the picture served Keats (himself depicted among the crowd) as encouragement and inspiration for his own poetic creations. From time to time, Haydon advised Keats—who considered the picture a ‘part’ of himself—to materialize a similar complex and unstable polarity in the ‘canvas’ of his own medium of poetry. We will witness the fruits of the friendship between the two men in the development of Keats’s ‘painterly’ poetics of light and shade, from his ‘Great Spirits’ sonnet of late 1816 to his last surviving letter of late 1820. Date of Award

Wydawnictwo Wojciech Marzec publishers of Warsaw have brought out a Polish translation of Film Art: An Introduction, and McGraw-Hill of Milan have published a third Italian edition of Film History: An Introduction. Our thanks to the editors and translators who have made these editions possible. [16.Nov.10] Leiviskä’s churches are ‘masterfully articulated instruments of daylight’, commented the judges. His sources of inspiration include Bavarian baroque churches, and the De Stijl movement (exemplified by the painter Piet Mondrian and the architect Gerrit Rietveld). Leiviskä is also inspired by music (a possible career was as a concert pianist) and his architectural projects, observed the judges, ‘have a musical quality evocative of, notably, Mozart’. The copper is deployed on the upper gallery using a proprietary system arranged in a pattern scripted by DesignGroup. Certain panels are perforated and screen a discreet light source that changes the character of the building in the evening. Strategically placed glazing and roof monitors are intended to create both framed views and opportunities for natural lighting. Much of the exterior building wall materials are continued into the building interior. Project Details: in the same way that his vision ceases, leaving behind a distilled sweetness in his heart, so does snow melt under the sun, Jun Ichiro Tanizaki says that we as a human being, it is our human nature that each one of us have a fundamental and basic requirement of dwelling, it is not only the interaction between human with human, but also human with the place where we belongs. It has pushed our human action to be desperate of inhabiting action to be able to interact and fulfill our fundamental needs. And a space that we seek it is not just an ordinary space that based on the physical dimension, but it based on the quality of its perfection, by means experiences the important values in space that’s more than just a shelter. Marilyn Monroe said that everything happen for a reason, where buildings built it’s not for the sake of nothing or just be a shelter for us,